女人作為隱喻：《色｜戒》的歷史建構與解構

Woman as Metaphor: How Lust/ Caution Re/Deconstructs History

女人在《色｜戒》影片中是一個隱喻（metaphor），透過這個隱喻，我們看見歷史的建構和解構，也同時見證愛國主義和愛情的「覺醒」及破滅的過程。電影表面上重建了國民黨政權在臺灣宣導的史觀，但實際上又同時一一進行解構，而這種建構和解構，主要是透過女主角而體現的。本文探討此主題時，將特別關注：在原著之上，電影究竟添加了什麼，改寫了什麼。電影和小說的敘事結構大致相同，由麻將間開場帶到咖啡廳的謀刺，中間插入回溯，最後又回到咖啡廳現場，整個敘事在說明：女間諜因何在珠寶店放走垂手可得的漢奸？但是兩者在角色塑造和傳達理念上，有相當顯著的歧異。電影的添筆和改寫，是我們理解李安透過影片想表達什麼理念的關鍵。本文分析電影添加的幾個主要場景，嘗試理解電影如何透過女人作為隱喻，進而建構與解構抗日歷史和愛國主義。《色｜戒》的歷史建構和解構，使兩岸三地的知識分子和一般民眾的反應，呈現強烈的分歧。結論時，將以「生命歷程」（existential process）的概念，說明一個文化產品的創作和受容，展現的是創作者和受容者的集體外在環境與個別詮釋的交互作用；個人的思慮雖然受制於集體意識，但是當外在環境的集體意識呈現分裂狀態、互相競逐之時，個人意識總能在夾縫中（荷米．巴巴語）發揮作用。

In Lust/Caution woman is a metaphor through which we witness the re/ deconstruction of history and the “awakening” and disillusionment of both patriotism and love. While seeming to reconstruct the historical viewpoint of the Nationalist Party in Taiwan, it is deconstructing it at the same time, and this process is emblemized by the female protagonist. The narrative structure of the movie is basically the same as that of the story. It starts with the mahjong table scene and moves on to the assassination conspiracy in the coffee shop. Then after the long flashback that constitutes the major portion of the movie, the coffee shop scene is resumed, leading to the aborted assassination scene in the jewelry shop. The whole narrative structure aims to explain the riddle of the story: Why does the woman spy let the trapped collaborator go unscathed? This being said, I will point out that there is in fact a great distinction between the movie and the story in the characterization of the two major personages and the ideology conveyed. What the movie has added to the story has transformed it and is the key to understanding what Ang Lee intends to express through the movie. In addition to the much discussed sex scenes, I will analyze scenes absent in Chang’s story, e. g., the mahjong politics, the assassination of Cao (Mr. Yi’s chauffeur), the female protagonist’s seeing movies, the singing in the Japanese tavern, and so on, to show how the movie re/deconstructs China’s anti-Japanese history and the discourse of patriotism. All the noise and bustle triggered by Lust/Caution across the Sinophone communities has created an amazing cultural phenomenon. Why is such a deep rift and irreconcilable division shown among people from Taiwan, Hong Kong, and China concerning a single movie? In the conclusion I will use the concept of “existential process” to indicate that the creation of a cultural production is the result of the intricate networking between collective consciousness and individual subjectivity. When collective consciousness is in a state of chaos, with different discourses in the external environment vying for supremacy simultaneously, the agency of subjectivity, though conditioned by or imprinted with collective consciousness, manages to exert itself in the interstitial spaces (to use Homi Bhabha’s term in Culture and Location).